A mihrab is a niche in a mosque or other Muslim religious building that indicates the direction for prayer toward Mecca, recalling the place where the Prophet Muhammad stood to lead the early Muslim community in prayer. Ceramic plaques in the shape of mihrabs are often found in shrines and mausoleums and on tombstones and cenotaphs (funerary monuments), where they may have had a commemorative or memorial function.
With its combination of molded and painted decoration, this blue and brown lusterware work is typical of ceramic "mihrab" plaques made in medieval Iran. The large inscription in the outer frame begins with the "bismallah" ("In the name of God, the Merciful, the Compassionate") and continues with a Qur'anic verse that refers directly to the recitation and prayer that Muslims perform in front of a "mihrab": "Establish regular prayers at the sun's decline till the darkness of the night, and the morning prayer and reading: for the prayer and reading in the morning carry their testimony" (Sura al-Bani Isra'il: chapter 17, verse 78). One of the final, and shortest, chapters of the Qur'an (Sura al-Ikhlas: chapter 112) is inscribed on the white band around the central arch.
For the latest information about this object, tiles; plaques, visit art.thewalters.org.Dynasty: Inscriptions: [Translation] "bismallah": In the name of God, the Merciful, the Compassionate; [Translation] From Sura al-Bani Isra'il: chapter 17, verse 78: Establish regular prayers at the sun's decline till the darkness of the night, and the morning prayer and reading: for the prayer and reading in the morning carry their testimony; [Inscription] From Sura al-Ikhlas: chapter 112 on white band around central archReign: Style:
Egyptians enjoyed playing board games, especially senet, or "passing." During the 18th dynasty, the game acquired religious significance, which transformed it into a simulation of the soul's journey through the underworld to achieve immortality. Throw sticks, much like dice, determined a player's moves, and winning required both skill and luck. This senet game board of 30 squares required 14 game pieces, like these spool- and cone-shaped pieces.For the latest information about this object, gameboards, visit art.thewalters.org.Dynasty: 19th-20th DynastyInscriptions: [Translation] First of the Priests of Amun, One who is in the place of the Temple of Amun-Ré (an acolyte of Amun-Ré), King of the gods, Nesi-amun-ipet, the Justified of Voice, the gift of Amun himself.Reign: Style:
Egyptians enjoyed playing board games, especially "senet," or "passing." From the Old Kingdom, the game also had religious significance, which transformed it into a simulation of the soul's journey through the underworld to achieve immortality. Throw sticks, much like dice, determined a player's moves, and winning required both skill and luck. The "senet" game board of 30 squares required 14 game pieces, like this one.For the latest information about this object, game pieces, visit art.thewalters.org.Dynasty: 18th-21st DynastyInscriptions: Reign: Style:
Egyptians enjoyed playing board games, especially "senet," or "passing." During the 18th dynasty, the game acquired religious significance, which transformed it into a simulation of the soul's journey through the underworld to achieve immortality. Throw sticks, much like dice, determined a player's moves, and winning required both skill and luck. The "senet" game board of 30 squares required 14 game pieces, like this one.For the latest information about this object, game pieces, visit art.thewalters.org.Dynasty: 18th-21st DynastyInscriptions: Reign: Style:
Pair of clavi ending in oval finial. Floral design on band and floral design on one finial. Other finial has crude bust of a haloed personage, presumably a saint.
Condition: Poor. Nearly all of the wool is missing. Numerous small gaps. Interesting as showing technique.
Two fragments of tapestry-woven borders each with two brown guilloche bands separated by plain brown band. Guilloche filled with design of birds and floral motifs, brown and white.
Condition: Extremely fragmentary. Numerous gaps. Fabric very dry and brittle.
Three matching fragments of textile (curtain?). Dark red wool tapestry on a yellow tabby ground. On all three pieces, red pendants of vine motif point away from selvage.
Fragment c also has a narrow red stripe parallel to the pendant and a heavy yellow wool cord along one edge.
Condition: Fragmentary. Stained. Torn.
Three textile fragments. Red, black, purple, yellow, green, and blue wools. Undyed linen. Tapestry weave. Decoration from a tunic. Common design of a red background and purple L-shaped motif on black borders.
Fragment a: Square contains central floral designs and similar motifs in corners.
Fragment b: Medallion contains bust in center.
Fragment c: Clavus (band) contains medallion and abstract ornament.
Condition: Much damage. All three pieces are incomplete. Design details are indecipherable.
Three tapestry-woven roundels. Rose-red background. In center, seated genius holding a duck. Background covered with floral motifs. Scroll border.
Condition: Poor. Numerous gaps in each roundel.
Three fragments of textile. Purple wool tapestry. Undyed linen tabby. Clavi (bands) from tunic decoration, fragment a and fragment b have a purple background with linen interlace design; fragment c has a linen tabby background with a purple stylized vine design.
Condition: Worn, threadbare. Fragmentary. Fragment b is faded.
BC number 9052; Babylonian Collection; date: 00.00.00.00; genre: canonical; citations: MSL 12: 23ff and p. 31 (mis-cited as MLC 6701); primary publication: unpublished; original catalog number NBC 06071 6071
The pictured lion, whose hindquarters are fluted tubes, is executed in a detailed and lively fashion. The reclining animal once faced another lion, and together they formed the terminals of a bracelet. The hoop was most likely made out of thick gold wire, of which only traces remain inside the tubes.For the latest information about this object, armlets; terminals, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
A bronze statuette of the anthropomorphic god Anubis facing a kneeling worshiper. He has the head of a jackal and the body of a human male. The piece has been cast in three sections and then joined. The eyes of Anubis are inlaid with gold and there are traces of gilding on the shoulders, wrists, ankles, neck, wig, and ears. The gilding was delicately applied to the eyes, eyebrows and muzzle, but in other areas it appears to have been applied in a more careless fashion. The piece is well preserved in general but there is a break on the lower back corner of the base and there is some green and bright blue corrosion on the lower side of the base. A hieroglyphic inscription runs around the main base, the base of the Anubis figure and along the back pillar of the worshiper, identifying the dedicant as one Wdja-Hor-resnet, son of Ankh-pa-khered, who is asking for the blessings of the god Anubis.
The figure of Anubis is in a striding position with his proper left leg advanced. His proper right arm hangs at his side and the right hand is clenched into a fist with the thumb protruding. The proper left arm is raised and bent at the elbow and there is a drilled hole in the hand for the insertion of an object. Earlier photographs of this piece in Darresy's "Statues de Divinités," show that the missing object was a "was" scepter. He wears a tripartite wig, "shendyt" kilt with deep pleats and a striated belt. A broad collar, armlets and bracelets are incised and gilded. Anklets are suggested by the gilding around the ankles but they are not incised. The musculature of the limbs and the torso is clearly defined. The ears of the god are large and the inner detailing has been carefully modeled. The muzzle comes to a delicate point, accentuating the skillfully modeled eyes, sweeping brows, nose and mouth. There are two cobras at the feet of the deity facing the worshipper. The proper right cobra wears the Red Crown of Lower Egypt and the left cobra wears the White Crown of Upper Egypt. The head of the left cobra is raised slightly higher than that of the right.
A worshipper kneels before the god with his back against an inscribed pillar which is pyramidal at the top. He kneels with both knees down on a flat rectangular base, which is attached to the larger main base below. He extends his hands to the god palms down. He wears a "shendyt" kilt, but the pleats are not carved with the same precision that is seen on the kilt of the god. The bent knees are squared off unnaturally and the legs blend together below the kilt. He has an inscribed broad collar. He also wears a skull cap, the front line of which is clearly marked across his brow. The face is round with full cheeks and no definition of the chin. The ears are large and set high. The eyes are natural and do not have cosmetic brows. The nose is straight and the mouth is small with slightly pursed lips. The overall surface of the worshipper is pitted whereas the figure of Anubis has a high polish.For the latest information about this object, statues, visit art.thewalters.org.Dynasty: 25th-26th DynastyInscriptions: [Translation] May Anubis, give life, health, long life and great and good old age to Wdja-Hor-resnet, son of Ankh-pa-khered, whose mother is Ta-gemiw(t), who is born (made) of the Mistress of the house, Hy-inty for Pen-pa-djew./ May Anubis give life to Wdje-hor-resnet, son of Ankh-pa-khered./ May Anubis, who is before the place of the divine booth, give life, health, strength, a long life, and a great old age and happiness to the son of Ankh-pa-khered, whose mother is Ta-gemiw(t), who is Mistress of the House, Hy-inty for Pen-pa-djew.Reign: Style:
The collars worn by both Egyptian men and women were composed of two main parts: in front, a broad collar (called "wesekh") decorated with floral elements, and a v-shaped counterpoise (called "menat") falling behind the neck to balance the weight of the collar. Such a combination was not only used as decoration but also as a ritual instrument by holding the "menat" in the hand and rattling the beads of the collar.
The three-dimensional depiction of "wesekh" and "menat" combined with a divine head became an important symbol. The head of a feline goddess atop this model collar indicates that it is intended as a personification of her powers, conveying in its decoration the ability of the lioness both to protect and to nourish the king. Her dual nature is evoked by her stern and watchful face on the front side, and by her representation as a mother suckling a young prince on the reverse. This precious object may have been produced for someone of the royal family.For the latest information about this object, ceremonial objects; collars (neckwear), visit art.thewalters.org.Dynasty: 22nd-23rd DynastyInscriptions: Reign: Style:
Although the group seems to represent two wrestlers, the victor's diadem (headband) identifies him as a Ptolemaic king whose victim probably symbolizes unsuccessful Asian or native Egyptian resistance. The image of the triumphant king is inspired by a traditional Egyptian theme, but the naturalistic rendering of the bodies shows Greek influence. The interlocking figures and the pyramidal silhouette are distinctly Hellenistic.For the latest information about this object, statuary groups, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
Alabaster slab with reliefs. The decoration is made of ten antelopes' heads (or bulls' heads? Bukranion), four of which are broken or burnt, between two tower-like constructions. The con-structions are of the typical South Arabian style; a door in a recess, and a window above a straight lintel.
Cast-Ceramic Amphora Handle/StampedCBS Register: cast of a jar handle found at Nippur, Orig in Constant. Rhodian, 2nd or first century BC. presented by H.V.H.Stamped
A rare and fine example of so-called "Egyptian blue" ceramic ware, this lovely vase has a form similar to contemporary vessels of alabaster.For the latest information about this object, vases; covers, visit art.thewalters.org.Dynasty: 18th DynastyInscriptions: Reign: Style:
Glass became very popular in the New Kingdom and although glass-making was not discovered by the Egyptians, they soon learned how to make glass. Glass inlays and vessels, such as this one, were precious and a luxury article.
This piece has a blue body, two small loop handles, and a round bottom. The banded decoration is yellow and white.For the latest information about this object, vessels, visit art.thewalters.org.Dynasty: 19th-21st DynastyInscriptions: Reign: Style:
Amulets are often worn on the body or hung in architectural spaces. Their purpose is to protect against ailments and other types of danger and to encourage success and fortitude. This 18th-century Iranian example is covered with micrographic writing, including verses from the Qur'an and the 99 Beautiful Names (al-asma al-husna) of God, which describe his divine attributes. Qur'anic verses are considered by some believers to have protective powers.
The most legible inscription, beginning at the top and continuing in the center panel, invokes God’s majesty: “Oh God, truly God is all-powerful in all things.”For the latest information about this object, amulets; gems; talismans, visit art.thewalters.org.Dynasty: Inscriptions: [Date] A.H. Rajab 1161; [Translation] ...Oh God, truly God is all- powerful in all things...Reign: Style:
The feet have broken away from this black-speckled carnelian representation of Horus-the-Child, but the angle of the legs suggests he was seated on his mother's lap. A loop protruding from the shoulders is also broken off.For the latest information about this object, pendants; amulets; figurine, visit art.thewalters.org.Dynasty: 19th-23rd DynastyInscriptions: Reign: Style:
The combination of the crescent moon with the full moon disk leads to an identification of the hawk as the god Khonsu of Thebes. The figure of the hawk stands on a rectangular base.
When Horus wears a sun disk, he is the god of cyclical renewal.For the latest information about this object, amulets; pendants; figurines, visit art.thewalters.org.Dynasty: 21st-23rd DynastyInscriptions: Reign: Style:
The god Horus-the-Child seated on a pillow, knees drawn up, is carved in relief on both sides of a thin piece of lapis lazuli. A perforation runs from the top of the head to the back of the skull.For the latest information about this object, amulets, visit art.thewalters.org.Dynasty: 18th DynastyInscriptions: Reign: Style:
Harpokrates (Horus the Child) is shown standing with his hand pressed to his lips. This pendant is made of light blue faience and is pierced through the back pillar.For the latest information about this object, amulets; figurines, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
This dwarf-like, protective deity was very popular in ancient Egypt; amulets in the shape of this god were particularly popular from the Third Intermediate period. The Greek name Pataikos comes from a passage in the writings of Herodotus (ca. 5th century BCE), who used this term to describe a Phoenician protective dwarf-like image. The Egyptian Pataikos is a special manifestation of the creator god Ptah and the dwarf-like appearance symbolizes his magical power.
This amulet displays a very special variant of Pataikos representations which links this god to images of the juvenile god Horus standing on crocodiles. Here, Pataikos also stands on two antithetically arranged crocodiles. He has snakes in his hands and a scarab on top of his head. On each of his shoulders was once a falcon, both of which are now broken off. The goddesses Isis and Nephthys are standing at his sides, and at his back another representation of Isis protects the Pataikos figure with her wings. In this special arrangement the magical power of Pataikos is linked to the Horus myth.For the latest information about this object, amulets; figurines, visit art.thewalters.org.Dynasty: Ptolemaic DynastyInscriptions: Reign: Style:
Upper part of the upright standing hippopotamus goddess Taweret. Taweret was a protective goddess, especially for pregnant women, childbirth, and newborn children.For the latest information about this object, statuettes (statues); figurines, visit art.thewalters.org.Dynasty: 18th DynastyInscriptions: Reign: Style:
Taweret, the "Great [female] One," was represented as a pregnant hippopotamus with lion paws and a crocodile tail. She was one of the most popular protective deities of ancient Egypt, being responsible for pregnant women and small children.For the latest information about this object, amulets; figurines; pendants, visit art.thewalters.org.Dynasty: 30th DynastyInscriptions: Reign: Style:
On top of the bead is the carved figure of a crocodile, sculpted in the round, and on the base is the sacred boat with the sun-disk, as well an inscription with the name of Amun-Re. The sun-boat itself is a cryptographic sign for the god Amun-Re.For the latest information about this object, amulets, visit art.thewalters.org.Dynasty: 21st-23rd DynastyInscriptions: [Translation] The barque in the top line is a well known cryptographic writing for the god Amun-Re: Amun-Re, / perfect of perfect manifestations; / Amun-Re, / may he grant all life, happiness, and stability.Reign: Style:
This symmetrically carved long oval plaque has sunk relief inscriptions on both the front and back of the piece. The front has the throne name of Amenophis III (1388-1351/1350 BCE). The reverse lists the name and royal title of the Queen Tiye. The workmanship on the piece is good, and it is simply made.
The plaque functioned as a individualized amulet, and was originally mounted, probably as part of a finger ring. The amulet should secure the special role of Queen Tiye, and assure the royal patronage of king and queen for its owner. In addition, it is likely that this royal couple were considered to be successful mediators to the gods, especially to Amun-Re.
There are many examples of plaques and scarabs with the names Amenophis III and his wife Tiye, found in and outside of Egypt. The possibility of reading the throne name as an Amun's trigram increases the magical value of the amulet.For the latest information about this object, amulets, visit art.thewalters.org.Dynasty: 18th DynastyInscriptions: [Translation] On front, throne name of King Amenhotep III without cartouche: Neb-Maat-Re.
Reign: Amenophis III (1388-1351/1350 BC)Style:
A cast silver amulet representing the goddess Nephthys, the sister of Isis, standing. She wears a small crown surmounted by the hieroglyph for her name. There is a loop behind the crown and the legs are broken off.For the latest information about this object, amulets; pendants, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
While Egyptian jewelry was worn in daily life, most of the examples known today came from tombs, where they adorned mummies. Amulets provided magical protection for the wearer in both life and death. The consistent color and workmanship of the 13 light-blue faience figures of gods owned by the Walters (this one and Walters 48.1676, 48.1677, 48.1679, 48.1680, 48.1684, 48.1701, 48.1702, 48.1704, 48.1708, 48.1709, 48.1710 and 48.1711) suggest that they came from the same workshop. Represented here is the goddess Nephthys.For the latest information about this object, amulets; necklaces, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
This smoothly carved amulet represents the great god and patron of the king, Horus with falcon head, in tight kilt, seated with hands drawn up on knees. A pierced loop projects from mid back.For the latest information about this object, amulets, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
While Egyptian jewelry was worn in daily life, most of the examples known today came from tombs, where they adorned mummies. Amulets provided magical protection for the wearer in both life and death. The consistent color and workmanship of the 13 light-blue faience figures of gods owned by the Walters (this one and Walters 48.1676, 48.1677, 48.1679, 48.1680, 48.1684, 48.1701, 48.1704, 48.1705, 48.1708, 48.1709, 48.1710 and 48.1711) suggest that they came from the same workshop. Represented here is the goddess Nephthys.For the latest information about this object, amulets; necklaces, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
Taweret, the "Great [Female] One," was represented as a pregnant hippopotamus with lion paws and a crocodile back and tail. She was one of the most popular protective deities of ancient Egypt, being responsible for pregnant women and small children.
The goddess is represented in her standard form. She is standing upright with her left foot forward. She has a hippopotamus body and head, a crocodile back and tail, lion paws, and human female arms and breasts. Her mouth is open to show her dangerous teeth. The amulet has a small base and a loop on the back.For the latest information about this object, amulets;pendants; figurines, visit art.thewalters.org.Dynasty: 28th Dynasty-Ptolemaic DynastyInscriptions: Reign: Style:
Originally made up of seven inscribed medallions, this armband demonstrates the intermixing of Christian, Jewish, and pagan imagery on an object of magical, medicinal purpose. Judging by the inscriptions, most armbands (made in Byzantine Syria and Egypt) were used to treat abdominal disorders.For the latest information about this object, armbands, visit art.thewalters.org.Dynasty: Inscriptions: [Transcription] + Ὁ κατοικῶν ἐν βοηθία τοῦ [Ὑψίστου]; [Translation] + He who dwells in the shelter of [the Most High] (cf. Psalm 91:1)Reign: Style:
This faience amulet represents Duamutef, the jackal-headed son of Horus. There are four sons of Horus and this amulet is part of a set of four (Walters 48.1638-1641). The sons of Horus preotected the vital organs of the body after mummification. The image is that of a jackal-headed, mummiform human. The figure faces proper left. It is composed of blue glazed faience with the details picked out in purple/black manganese. The figure wears a three row broad collar and a tripartite wig. There are five diagonal stripes of manganese across the mummiform body representing the mummy wrappings or braces. A horizontal fracture just below the buttocks separated the amulet into two fragments which have since been reattached.
Numerous funerary amulets were usually placed among the many layers of linen strips used to wrap mummies. Specific amulets, along with their required position on the body, are listed in funerary texts such as "The Book of the Dead." Amulets were sometimes sewn directly onto the wrappings or could be incorporated into a bead net shroud covering the mummy. These amulets have been modeled with a flat underside and are pierced by tiny holes around the edges for attachment.For the latest information about this object, plaques; amulets, visit art.thewalters.org.Dynasty: 23rd-25th DynastyInscriptions: Reign: Style:
This faience amulet represents Hapy, the baboon-headed son of Horus. There are four sons of Horus and this amulet is part of a set of four (Walters 48.1638-1641). The sons of Horus protected he vital organs of the body after mummification. The image is that of a baboon-headed mummiform human. The figure faces proper right. It is composed of blue glazed faience with the details picked out in purple/black manganese. The figure wears a tripartite wig, but unlike the other three in this set he does not wear a broad collar. There are five diagonal stripes of manganese across the mummiform body representing the mummy wrappings or braces. A horizontal fracture at knee level separated the amulet into two fragments which have since been reattached.
Numerous funerary amulets were usually placed among the many layers of linen strips used to wrap mummies. Specific amulets, along with their required position on the body, are listed in funerary texts such as "The Book of the Dead." Amulets were sometimes sewn directly onto the wrappings or could be incorporated into a bead net shroud covering the mummy. These amulets have been modeled with a flat underside and are pierced by tiny holes around the edges for attachment.For the latest information about this object, plaques; amulets, visit art.thewalters.org.Dynasty: 23rd-25th DynastyInscriptions: Reign: Style:
This faience amulet represents Imsety, the human-headed son of Horus. There are four sons of Horus and this amulet is part of a set of four (Walters 48.1638-1641). The sons of Horus protected the vital organs of the body after mummification. The figure faces proper right. It is composed of blue glazed faience with the details picked out in purple/black manganese. The figure wears a three row broad collar, a tripartite wig and a divine beard. There are five diagonal stripes of manganese across the mummiform body representing the mummy wrappings or braces.
Numerous funerary amulets were usually placed among the many layers of linen strips used to wrap mummies. Specific amulets, along with their required position on the body, are listed in funerary texts such as "The Book of the Dead." Amulets were sometimes sewn directly onto the wrappings or could be incorporated into a bead net shroud covering the mummy. These amulets have been modeled with a flat underside and are pierced by tiny holes around the edges for attachment.For the latest information about this object, plaques; amulets, visit art.thewalters.org.Dynasty: 23rd-25th DynastyInscriptions: Reign: Style:
This faience amulet represents Kebehsenuef, the hawk-headed son of Horus. There are four sons of Horus and this amulet is part of a set of four (Walters 48.1638-1641). The sons of Horus protected the vital organs of the body after mummification. The image is that of a hawk-headed, mummiform human. The figure faces proper left. It is composed of blue glazed faience with the details picked out in purple/black manganese. The figure wears a three row broad collar and a tripartite wig. There are five diagonal stripes of manganese across the mummiform body representing the mummy wrappings or braces. A horizontal fracture separated the amulet about midway into two fragments which have since been reattached.
Numerous funerary amulets were usually placed among the many layers of linen strips used to wrap mummies. Specific amulets, along with their required position on the body, are listed in funerary texts such as "The Book of the Dead." Amulets were sometimes sewn directly onto the wrappings or could be incorporated into a bead net shroud covering the mummy. These amulets have been modeled with a flat underside and are pierced by tiny holes around the edges for attachment.For the latest information about this object, plaques; amulets, visit art.thewalters.org.Dynasty: 21st DynastyInscriptions: Reign: Style:
On this side of the pendant is an eye, attacked by a lion, snake, scorpion, stork, and spears. According to the Testament of Solomon, a magical text dating to before the 3rd century AD. The image of the "much suffering eye" protected the wearer from the Evil Eye, which could do harm by its very glance. On the other side, Solomon, the Holy Rider, spears Lillith, the embodiment of evil.For the latest information about this object, pendants, visit art.thewalters.org.Dynasty: Inscriptions: [Transcription] Εἰς Θεός / Εἰς Θεός ὁ νικῶν τὰ κακά. ΙΑΩΘ;[Translation] One God / [The] one God overcomes the evil. JHVH;
[Transcription] eis theos nikoon ta kakaReign: Style:
A trapezoidal shaped faience amulet in the form of a plaque with the raised relief image of the goddess Isis. The goddess kneels upon a low base and holds her right hand in front of her face in a gesture of morning. She wears a long sheath gown and a tripartite wig. Her characteristic headdress is actually a hieroglyphic writing of her name: the sign for a throne.
Numerous funerary amulets were usually placed among the many layers of linen strips used to wrap mummies. Specific amulets, along with their required position on the body, are listed in funerary texts such as "The Book of the Dead." Amulets were sometimes sewn directly onto the wrappings or could be incorporated into a bead net shroud covering the mummy. This amulet has been modeled with a flat underside and is pierced by tiny holes around the edges for attachment.For the latest information about this object, plaques; amulets, visit art.thewalters.org.Dynasty: 29th-early Ptolemaic DynastyInscriptions: Reign: Style: Saitic
A trapezoidal shaped faience amulet in the form of a plaque with the raised relief image of the goddess Nephthys. The goddess kneels upon a low base and holds her right hand in front of her face in a gesture of mourning. She wears a long sheath gown and a tripartite wig. Her characteristic headdress is actually a hieroglyphic writing of her name: a "nb" basket on top of a "hwt" shrine/mansion. Her name means "Lady of the Mansion."
Numerous funerary amulets were usually placed among the many layers of linen strips used to wrap mummies. Specific amulets, along with their required position on the body, are listed in funerary texts such as "The Book of the Dead." Amulets were sometimes sewn directly onto the wrappings or could be incorporated into a bead net shroud covering the mummy. This amulet has been modeled with a flat underside and is pierced by tiny holes around the edges for attachment.For the latest information about this object, plaques; amulets, visit art.thewalters.org.Dynasty: 29th-early Ptolemaic DynastyInscriptions: Reign: Style:
This cast silver amulet with a poor surface represents the great national god Amun, standing with the left foot directly in front of the right. The lines of his short kilt, necklace, armlets and bracelets are indicated by incision. There is a large suspension loop behind the (broken) plume on his cap. The heavy-featured face suggests this may be a provincial piece.For the latest information about this object, amulets; pendants, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
Amun is depicted standing, wearing a cap and with inlaid eyes. His left arm is forward while his right is at his side; both hands are pierced. There is a groove in the cap for inserting plumes.For the latest information about this object, statuettes (statues), visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
The representation of the mummiform Amun-Min-Kamutef with an erect phallus alludes to his role as a fertility god. His right arm is raised in a gesture of rejoicing. The name Kamutef ("bull of his mother") conveys that the god is both father and son and, therefore, self-created. Instead of the god's usual tall, feathered crown, this statuette (a rare example) depicts the god wearing the crown of Upper (south) Egypt, emphasizing his southern origins.For the latest information about this object, statuettes (statues), visit art.thewalters.org.Dynasty: 26th-30th DynastyInscriptions: Reign: Style:
Silver figures such as this one were precious in Ancient Egypt. This small statuette has a loop at the back to be used as a pendant. Amun is displayed with the standard iconography of Amun-Re. He is dressed in a divine kilt, a collar, and a double feather-crown combined with a sun-disk.
For the latest information about this object, amulets; pendants; figurines, visit art.thewalters.org.Dynasty: 22nd DynastyInscriptions: Reign: Style:
This amulet is the head of a jackal. He holds a whip and crook, and is kneeling with snakes before his knees. He has the tail of a bird.For the latest information about this object, amulets; pendants; amulet-pendants, visit art.thewalters.org.Dynasty: Inscriptions: Reign: Style:
This well modeled bull of pale green faience has a rib cage and mane indicated by an incision. The horns and probably the disk which marked him as the holy Apis bull have broken off. Suspension loop on the back.For the latest information about this object, pendants; amulets; figurines, visit art.thewalters.org.Dynasty: 26th-30th DynastyInscriptions: Reign: Style:
A cast silver pendant representing the holy Apis bull, who wears a sun disk with "uraeus" between his horns. Incised lines mark the characteristic triangle on the forehead, wide necklaces and saddle cloth. The bull stands on a kind of sled, which divides in two and turns up in front. The combination of the bull with a sled indicates that the statue of the holy Apis bull is represented and not the divine living bull itself. There is a loop behind the neck to use the statuette as a pendant. The surface of the metal has deteriorated. The right rear leg is broken off and the fore legs both have a crack which goes through the whole material.For the latest information about this object, amulets; pendants; amulet-pendants, visit art.thewalters.org.Dynasty: 13th DynastyInscriptions: Reign: Style:
Apis, a bull, was a living manifestation of the creator-god Ptah and closely related to the rituals for the king. Apis was associated with divine resurrection and the protection of the king. A living bull was selected by the priests of Ptah at Memphis, the center of the cult, and was worshiped in connection with royal coronations and funerary rituals. The image shows the bull crowned with a sun disk (associating him with the sun-god Re) and the Uraeus, the sacred cobra (a symbol of kingship). He is also adorned with a collar around the neck and an elaborate cloth on his back, two elements which are characteristic for the Apis bull.For the latest information about this object, statuettes (statues), visit art.thewalters.org.Dynasty: 26th-27th DynastyInscriptions: Reign: Style: